J+
JARMUSCHEK + PARTNER
Chypre2_Jarmuschek_Flyer.jpg

CHYPRE II_engl

GER

SABINE BANOVIC
NIKE DE BEER
WINNIE SEIFERT

CHYPRE II

May 20 – June 17, 2017
Opening: May 19, 2017, 6 pm

image: Winnie Seifert, Meadows, 2016 | Sabine Banovic, Ritter, 2015 | Nike de Beer, Jacky, 2017 ( 3 details)

 

With CHYPRE II Jarmuschek+Partner presents the three artistic positions of Winnie Seifert, Sabine Banovic and Nike de Beer. The two-part exhibition project has been launched with the opening of CHYPRE I at the Stephanie Kelly gallery in Dresden. 

"Chypre" classifies a family of perfumes consisting of a hesperidic head note of citrus oils, a flowery heart note, and a woody-mossy base note. This triangle of components allows a particularly sensual experience.

"Winnie Seifert has committed herself to color. In her studio, free forms, informal gestures and uncontrolled processes becomes a diverse repertoire of tools to create vibrant abstract color worlds. In her paintings, she mostly works with a pasty style and powerful compositions, in order to immerse viewers in image worlds in which they are able to trace their own imaginative associations. The paintings are balancing on the threshold between abstraction and association, between dimensions and shallows." – Kerstin Flasche

"Sabine Banovic creates image worlds, which are to be studied exactly. The seemingly figurative dissolves promptly, as soon as it is recognized - into hairy lines, flowing forms, and lakes of watery black color on a white background. Her paintings are so fascinating because of the soaring ambivalence between abstraction and representational association. In addition to drawing elements on paper and canvas, smudges and chemical processes determine the quality of their images. Associations and projections may be mutually codepending, mutually excluding the other ones, or are simply coexisting." – Kerstin Flasche

„In essence, in her paintings, named after celebrities, Nike de Beer is less concerned about parties, the paintings are not just refering to questions of style or trash, but to categories of power and representation. From the distance the celebrity cult is pursued by the artist, in order to create picturesque proximity to the human being behind the facade. Their collected information about a person who exists only in different roles can be read morphologically by their arrangement of pictorial references in the picture. Between abstraction, signs, and imagination, Nike de Beers' work reveals the brittle space, which is usually superimposed on the mostly masked reactions to striking media images and moody expressions.“ – Michael Klipphahn

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curated by Kerstin Flasche

in cooperation with